The New Movie Magazine (Jan-Sep 1935)

The crooked agent baits his trap for the poor would-be author with alluring tales of big movie money. NEW MOVIE hereby acknowledges its appreciation of the assistance unstintingly rendered in the preparation of this article by the United States Postal Authorities, the Attorney General of the State of California, The District Attorney of Los Angeles County, the Los Angeles Better Business Bureau, the Screen Writers' Guild, all of the major producers in Hollywood, individually, the Association of Motion Picture Producers, the City Attorney of Los Angeles. THIS is not an amusing story. Rather it is a warning that New Movie is publishing for the protection of the public against the rapacious men and women lurking in Hollywood, New York and other large cities, whose living is made by victimizing sincere and, in some cases, talented admirers of the screen. In all likelihood you, too, have left the theater after having seen a mediocre picture feeling that you could write a darned sight better story — if you had the time or if the kids weren't always getting into jams or if, well, a thousand different ifs for as many people. And you've probably also heard IT'S FAKE Have you a friend who wants to write screen scenarios? Give him this article to read! He hasn't a chance! Crooked "literary agents" will bleed him of his savings. No other magazine has ever dared to print these facts about a racket so contemptible, and so heart-breakingly unjust that it will make your blood boil — the Vultures of Ambition! By WILLIAM A. ULMAN, JR. how much money is to be made writing for the screen. I know I did. That's why I came out here to Hollywood. It's a funny thing, but almost everybody thinks he can write. And a large percentage of those people want to write for the movies. Almost before they set pen on paper, however, they are faced with the question, "How can I sell this idea? How can I even get an executive to read it?" In answer to that question there are carefully worded advertisements in dozens of magazines and newspapers, literally hundreds cluttering up the pages of so-called writers' magazines. For example, HOLLYWOOD STUDIOS NEED STORIES . . . Producers favor suitable stories for the TALKING SCREEN. ... It makes little or no difference whether you are KNOWN OR UNKNOWN — THE STORY IS THE THING ! . . . Our Studio Representatives are in daily contact and personally submit such stories as are in line with current production needs. . . . We invite the submission of manuscripts in any form for FREE READING and REPORT. THIS pleasant little effusion is widely broadcast by the racketeers located right in Hollywood and providing the people of the industry with one of their least liked smells. Their method of operation is simplicity itself. They know that the world is full of ambitious people who ache to find self-expression and some loose change by writing — and that the vast majority of these people have not yet lost their amateur standing by having been sullied with the touch of crass coin for their efforts. Further, they don't even know how to get it. But these grafters do! Boy, oh, boy! Do they know how to get it! They know so well that at this moment they are being investigated by the United States Postal Inspectors on suspicion of using the mails to defraud. In their advertisements they tell you, by infer ence, that Hollywood producers just couldn't get along without them, that they sell stories right and left and that all they want is for you to write in and tell them your idea and then YOU, TOO, CAN CASH IN! It's a cinch! The sucker (Pardon me! I hope you haven't fallen for this gag, too ! ) reads and thinks. He thinks about that story he wrote last Spring, when he was down with bronchitis, and never did know what to do with. Eventually he clips the ad and mails both the coupon and the brain-child to Hollywood. Why not? It doesn't cost anything! Says so right here in black and white! Maybe he bites his finger nails or maybe he just forgets about it, but in the course of time the postman arrives with a nice, long brown envelope straight from Hollywood. And what do you think? They DIDN'T return the manuscript! Instead there's a full page, seemingly-typed letter from the head of the "Manuscript Department" telling the embryo author what a simply ducky story it is and that they "are pleased to inform you that your story is acceptable to us for representation by our Sales Department. The basic idea, plot treatment . . . have been worked out with judgment. In our opinion, you have a story . . . that should attract the attention of Talking Picture Producers." If the amateur author (who always thought he had it in him, anyway) hasn't swooned at this point, he reads further that before the story can be submitted to studios a United States Government copyright is essential. And (lucky author!) the company will be glad to attend to this by publishing a 750 word synopsis of the story. Their Experts will prepare it for a nominal charge — the charge largely based upon the quality of your stationery and indications of education in your story. NO. 1 OF A SERIES OF ARTICLES IN WHICH NEW MOVIE WILL EXPOSE THE 20 The New Movie Magazine, April, 1935